, Shakespeare, Donne, Milton (London: Deutsch, 1971); Louis Martz, From Renaissance to Baroque: Essays on Literature and Art (Columbia: University of Missouri Press, 1991); Murray Roston, Tradition and Subversion in RenaissanceLiterature: Studies in Shakespeare, Spenser, Jonson, and Donne (Pittsburgh: Duquesne University Press, 2007); Terry G. Sherwood, The Self in Early Modern Literature: For the Common Good (Pittsburgh: Duquesne University Press, 2007); Adam Potkay, ‘Spenser, Donne, and the Theology of Joy’, Studies in English Literature 1500–1900 , 46.1 (2006
Divine destruction in Friar Bacon and Friar Bungay
Andrew Borlik, ‘“More than
Art”: Clockwork Automata, the Extemporising Actor, and the
Brazen Head in Friar Bacon and Friar Bungay ’, in Wendy
Beth Hyman (ed.), The Automaton in English RenaissanceLiterature (Farnham: Ashgate, 2011 ),
pp. 129–44, p. 130.
George Molland, ‘Bacon, Roger
Excuse me, gentle reader if oughte be amisse, straung paths ar not troden al truly at the first: the way muste needes be comberous, wher none hathe gone before. 1
all geographies are imaginative geographies – fabrications in the literal sense of ‘something made’ – and our access to the world is always made through particular technologies of representation. 2
The constructions of space that occur in Renaissanceliterature can be related to Sir Philip Sidney’s argument in The Defence
we don’t have to layer past and present on top of one another to
create a hybrid montage. As a vision of Rome’s possible future the
picture of cows lowing in the Forum is simply and literally true. In
Archaeologies of English RenaissanceLiterature , Philip
Schwyzer makes the following observation about a group of English
Renaissance treatments of ruin, including Shakespeare’s Sonnet
A world of difference: religion, literary form, and the negotiation of conflict in early modern England
Jonathan Baldo and Isabel Karremann
reappraisal of the Catholic past, worlds away
from the Reformation polemic of a Bale or Lambarde. Nostalgia for the visible
remains of Catholicism, and a backward and approving look at the religion which
had produced them, were therefore hard to separate.’ Duffy, The Stripping of the
Altars, p. 43.
18 See S. Cohen (ed.), Shakespeare and Historical Formalism (Aldershot: Ashgate,
2007) and his earlier essay ‘Between Form and Culture: New Historicism and
the Promise of a Historical Formalism’, in M. D. Rasmussen (ed.), RenaissanceLiterature and Its Formal Engagements (New
: How Anthropology Makes Its
Object (New York: Columbia University Press, 2002 ), xli.
Doreen Massey , For Space (London: Sage Publications,
2005 ), 71.
Catherine Nicholson , Uncommon Tongues: Eloquence and Eccentricity in the
English Renaissance (Philadelphia: University of Pennsylvania
Press, 2014 ), 11–12.
Paula Blank , Broken English: Dialects and the Politics of
Language in RenaissanceLiterature (New York
Laetitia Sansonetti, Rémi Vuillemin and Enrica Zanin
(Ithaca, London: Cornell University Press, 1995),
and W. Wall’s The Imprint of Gender:
Authorship and Publication in the English
Renaissance (Ithaca, London: Cornell University Press,
1993). Literary studies focusing on materiality include for instance
P. Fumerton, Cultural Aesthetics .
RenaissanceLiterature and the Practice of Social
University Press , 2010 ), pp. 153–62 .
Craig , H. , ‘ The 1602 Additions to The Spanish Tragedy ’, in H. Craig and A. F. Kinney (eds), Shakespeare, Computers, and the Mystery of
Authorship ( Cambridge : Cambridge University Press , 2009 ), pp. 162–80 .
Empson , W. , ‘ The Spanish Tragedy (II) ’, in J. Haffenden (ed.), Essays on
RenaissanceLiterature , vol. 2 ( Cambridge : Cambridge University Press ,
1994 ), pp. 41
1580–1730 (Houndmills: Palgrave Macmillan, 2010), p.
In Renaissance studies, see e.g. Mark David
Rasmussen (ed.), RenaissanceLiterature and Its Formal
Engagements (Houndmills: Palgrave, 2002); Jeff Dolven,
‘Shakespeare and the new aestheticism’, Literary
Imagination , 5 (2003), 95
Ekphrasis and historical materiality in Shakespeare’s The Rape of Lucrece
, Archaeologies of English RenaissanceLiterature (Oxford:
Oxford University Press, 2007), and Angus Vine, In Defiance of Time: Antiquarian
Writing in Early Modern England (Oxford: Oxford University Press, 2010).
8 Catherine Belsey, ‘Invocation of the Visual Image: Ekphrasis in Lucrece and Beyond’,
Shakespeare Quarterly, 63 (2012), 175–98 (p. 196).
9 Greene describes an unrequited desire in the Renaissance for the ancient world, a
desire that was like an ‘incomplete embrace’ (The Light in Troy, p. 43).
10 Valentine Cunningham, ‘Why Ekphrasis?’, Classical Philology, 102